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Mojarra Aesthetics in Piolin Por La Ma?ana: A Time and Space for the Dislocated

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dc.contributor.advisorLuis A. Marentes
dc.contributor.advisorIlán Stavans
dc.contributor.advisorBarbara Zecchi
dc.contributor.authorGarcia, J. Luis Loya
dc.contributor.departmentUniversity of Massachusetts Amherst
dc.date2023-09-23T04:35:12.000
dc.date.accessioned2024-04-26T19:48:56Z
dc.date.available2024-04-26T19:48:56Z
dc.date.issued2011-05-13
dc.description.abstractThis dissertation is a cultural analysis of Piolín por la Mañana, a Spanish-language radio talk show conducted by Eduardo Piolín Sotelo and broadcast from Los Angeles. The program expands the boundaries of the performing arts as well as the reach and elasticity of literary tropes and study. It connects often geographically disparate ―imagined communities‖ of working class Latino/as by revisiting traditional Mexican theater, joke delivery style, literary genre (e.g., magical realism and the picaresque), and taxonomies of everyday personalities. Central to my discussion of Piolín is listener participation, which stages community formation within the radio-text. The introduction and the first chapter present the trope of the Mojarra, a person that crossed the U.S. border as a mojado/a (an undocumented immigrant), usually swimming or forging a river. Mojarras suffer el Síndrome de la Mojarra, the condition of feeling persecuted, believing that their freedom depends on the ability to evade capture. Mojarra Aesthetics revolves around the representational needs of the persecuted vii immigrant community; this aesthetic is comprised of artistic techniques that use humor and in particular explosive laughter and mitote. The second chapter explores how Piolín is a medium that connects, as well as creates, Latino communities through radio; it maps ―nonce taxonomies‖ of recognizable immigrant personalities. What follows, explores how Piolín encourages new ways of making and analyzing art, including the use of cantinfleadas and albures as central elements of oral folklore, comprising connections to traditional Mexican joke delivery (e.g., colmos, parecidos, que le dijo, telones, and bombas). The program, via this tradition, includes cultural tropes such as the mojarra, tlacuaches, nopales, nacos, nacas, among others. At the center of this dissertation is the carnival and, relatively new on the scene, the radio carnival. The radio program produces a Mojarra Difrasismo, deconstructing entrenched binaries and creating a new reality, forcing new critical thinking about what reality is or could be in relation to the immigrant experience and the immigrant body.
dc.description.degreeDoctor of Philosophy (PhD)
dc.description.departmentHispanic Literatures & Linguistics
dc.identifier.doihttps://doi.org/10.7275/2176585
dc.identifier.urihttps://hdl.handle.net/20.500.14394/38823
dc.relation.urlhttps://scholarworks.umass.edu/cgi/viewcontent.cgi?article=1401&context=open_access_dissertations&unstamped=1
dc.source.statuspublished
dc.subjectLinguistics
dc.titleMojarra Aesthetics in Piolin Por La Ma?ana: A Time and Space for the Dislocated
dc.typedissertation
dc.typearticle
dc.typedissertation
digcom.contributor.authorisAuthorOfPublication|email:lloya@spanport.umass.edu|institution:University of Massachusetts Amherst|Garcia, J. Luis Loya
digcom.identifieropen_access_dissertations/383
digcom.identifier.contextkey2176585
digcom.identifier.submissionpathopen_access_dissertations/383
dspace.entity.typePublication
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